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In essence, the meaning of a text is not inherent within the text itself, but is created within the relationship between the text and the reader. [1] Hall also developed a theory of encoding and decoding, Hall's theory, which focuses on the communication processes at play in texts that are in televisual form.
The implied author, narrator, narratee, and implied reader are immanent to the text and are constructed from the narrative itself. In this diagram, the implied author is the real author’s persona that the reader assembles from their reading of the narrative. [3] Although the implied author is not the real author of a work, he or she is the ...
This is usually referred to as the code model [25] or the conduit metaphor [26] of communication. Human communication, however, is almost never this simple. Context almost always plays a part in communication, as do other factors such as the author's intentions, the relationship between the sender and receiver, and so forth.
Audience reception theory can be traced back to work done by British Sociologist Stuart Hall and his communication model first revealed in an essay titled "Encoding/Decoding." [ 2 ] Hall proposed a new model of mass communication which highlighted the importance of active interpretation within relevant codes. [ 3 ]
The real reader is a concrete reality and determines the writer's purpose and persona. A writer who perceives an audience as real tends to conceive of readers as living persons with specific attitudes and demographic characteristics. Therefore, the writer's task is to accommodate the real reader by analyzing this reader's needs and deferring to ...
The reader's activities are confined within limits set by the literary work. Two of Iser's reading assumptions have influenced reading-response criticism of the New Testament. The first is the role of the reader, who is active, not passive, in the production of textual meaning. The reader fills in the "gaps" or areas of "indeterminacy" of the text.
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In Storytelling Rights: The uses of oral and written texts by urban adolescents, author Amy Shuman offers the following definition of storytelling rights: "the important and precarious relationship between narrative and event and, specifically, between the participants in an event and the reporters who claim the right to talk about what happened."